Mr. STUART OGILVIE'S Drama may be a clever adaptation of a story difficult to adapt; but that his play is powerfully dramatic, even when it arrives at what, as I conceive, was intended to be its strongest dramatic situation in the Second Scene of the Third Act, no one but an _Umbra_ (to be "classical"), a sycophant, a "creature," or a contentious noodle, could possibly assert. Yet, as a series of _tableaux vivants_, illustrating scenes in the public and private life of _Issachar_ the Jew,--and that Jew Mr. BEERBOHM TREE, so artistically made up as to be absolutely unrecognisable by those who know him best,--the action is decidedly interesting up to the end of the Third Act. After that, all is tumult. The gay and seductive _Orestes_, Prefect of Alexandria (carefully played by Mr. LEWIS WALLER) is slain, anyhow, all higgledy-piggledy, by the Jew, _Issachar_, whose seductive daughter _Ruth_ (sweetly and gently represented by Miss OLGA BRANDON) this gay LOTHARIO of a Prefect has contrived, not, apparently, with any great difficulty, to lead astray, or, to put it "classically," to seduce from the narrow path of such virtue as is common alike to Pagan, Jew, and Christian. As for handsome _Hypatia_ herself, magnificent though Miss JULIA NEILSON be as a classic model for a painter, she is nowhere, dramatically, in the piece, when contrasted with the unhappy Jewish Family of two. It is the story of _Issachar_, his daughter and _Orestes_, that absorbs the interest; and, as to what becomes of _Cyril_ and his Merry Monks, of _Philammon_ (which, when pronounced, sounds like a modern Cockney-rendering of PHILIP HAMMOND, with the aspirate omitted and the final "d" dropped), of old _Theon_ (who never appears but he is immediately sent away again, and therefore might be termed "_The-on-and-off-'un_"), and, finally, of even that charming specimen of a Girton Girl-Lecturer on Philosophy _Hypatia_ herself, well--to adopt HOOD'S couplet about the Poor in London,-- "Where they goes, or how they fares, Nobody knows and nobody cares." The entire interest is centred in _Issachar_, and had the author devised some strong dramatic climax (such as occurs in that play of SARDOU'S where SARAH B. stabs PAUL BERTON) with which to finish the piece, when the Prefect should have been killed either by _Issachar_ or by _Miriam_ (SARDOU would have made _Issachar's_ daughter the heroine--the SARA BERNHARDT of the piece) then, in the penultimate Act, anything tragic, or otherwise, might picturesquely and appropriately have happened to the classic Girton girl, _Hypatia_, and Master _Phil 'Ammon_, the good young Monk so inclined to go wrong, to the great contentment of the audience.